The Final Piece

A0 printed piece displaying 3 landscapes to give an impression as to the feel of the three main regions of the island, such examples include colour pallet and geological makeup a starting point if u will. To be featured on the final piece will be a small piece of information graphics displaying which image represents each region. Create a means of how it may be judged by others.

Identify concept art in the broader sense, are there different styles, does any one concept artist stick on to me?

Who uses concept art, what industries, to what end, do different industries focus on different areas?

Where does my style of concept art fit in, what is concept art? Is it purely visual? What processes go into developing concepts is there an industry method or is the process more personally driven?

What is my final piece, what does it serve to achieve, does it allow for development, if so where and how.

These sets of statements and questions will serve to try get myself back on track and aim for a finish line in terms of the project as i have been feeling lost until recently as to the supportive aspects of the work.

My objective now until the end of the project is to regain the work style and flow I managed to perform during the Collaborative Unit with continual documentation of my progress through the unit but also to sit and think about my progress which I feel pushes this questions rather than have them in the back of my mind.

Initially when I split my island project between the Self Negotiated Unit and the Spacialized Practices unit I decided to focus on Three Dimentional Rendering for Self Negotiated and Initial Ideas for the Spacialized Practices.

Self Negotiated (SN) has now changed to that of Concept Work whilst the Spacialized Practices unit which I have failed will now be changed though I am still trying to grasp a path into it.

SN will begin the start of my reintroduction to drawing and a new introduction to that of digital painting to which I am unfamiliar, I also feel as if learning digital painting is like learning to draw all over again. The idea will be create some visuals that can be presented at the end of the unit though it is difficult to be more specific at this stage I have decided to opt for small isolated objects to focus on rather than an entire scene. An example of this would be rather than produce an entire scene which would prove a long and grueling processes perhaps a visual of the capital city of this island I will do instead isolated aspects of this city such as walls, types of buildings so an impression can begin to form and hopefully I will avoid the feeling of having a daunting task to complete, this also should help the development of my techniques and style of digital painting by allowing myself to explore different approaches quickly in different images.

The objective then is to create concepts which give an IMPRESSION as to the make up of the island. At present I am creating small concepts of the potential flora of the island and if my skill increase sufficiently or if time permits I will move onto architectural concepts.

I have come to believe there is a blurred line between the ideas of success and failure, an interconnection between the two of them one effects the other, a push and pull relationship. This masters course has been one of the most defining experiences of my life having never questioned anything to the extent I have during these past six months. This unit spacialized practices has been the most revealing so far in which I have brought to light something of an issue I have never really seen as one before. For as long as I can recall every single discussion I have made as been with my “career” in mind from decisions about what I learn, what I buy, if I cannot justify it as something I can use to further in my career I dismiss it as unnecessary, even as I write this I cannot believe to the extent to which this statement runs true. It has been this revelation which as dominated the unit not changing my objectives once but twice the latest being of the most significance. 

A New Script

The subject for the unit was originally going to be of the subject of interface. The whole reason resonating from a past project I did during my (BA) Graphic Design course, in which when conducting interviews with well known Graphic Design Agencies it became apparent that I lacked any digital skills which were quickly becoming expected skills for graduates, I countered that issue by joining this course. To learn the skills discussed with these agencies I, where possible created briefs which focused on abstract interface designs so that I could both learn the technical skills whilst also creating less commercially orientated works. The initial idea was to have a digital interface that shared abstract similarities with a canvas and a paintbrush. As with my previous digital interface unit my focus was collaborative control over a progressive digital canvas with no definable end. As the project progressed and as I explored the idea and the technology behind creating the piece I felt more confused with how to proceed and with my interest dwindling the project progressed slowly. 

The Night Strikes Back

I found myself with no passion for the interface project, and so I decided to pursue further my photographic experimentation. The previous project had focused on using nocturnal settings and through exposure settings and artificial light create the illusion that these lit forms were luminescent rather than lit.

Through a visiting lecturer I discovered a broader range of artists who created similar works which I had not stumbled across during the first project. Unfortunately for myself I found that the conclusions from my previous project proved accurate. Given my current capabilities I am unable to pursue this area of study, in lacking the ability to drive I am strongly limited in the variety of landscapes I am able to visit and in doing so lack opportunity to further explore this field of study. I also find myself limited by man power, having achieved my only successful set of images with the help of a friend. To truly pursue this intriguing style of imagery a collaborative group would have to be involved.

Return of the Spark

It became apparent that I was not enjoying the path I had decided to travel on this course, It became clear that I had more interest and passion with my part time job at GAME than for my Masters. I questioned why this was the case and recalled my initial reason for entering my Art & Design course to begin with, Game Design. This discovery lead to numerous revelations the most dominant of those being a new found excitement which I have not had for years. For the first time since I can remember I had found an area of study which could cater towards my excessive imagination, my huge interest in science fiction & fantasy and my excitement and ability to excel in collaborative environments. Through my discussions with Shaun Camp it was decided to focus this new exploration of careers to level design. After some consideration I came up with an idea to use a blank canvas in an already existing game to develop this idea of level design, the reason being to avoiding the entire process of creating a game and focusing on the construction of environments. 

This unit has truly focused around spacialized practices. I have asked myself what is my work for? Who is it for? Where does it go? And I have been unhappy with these answers. The result has been a shift from a focus on interface design and a switch to an exploration of Level Design as a future career a prospect which excites me in a way nothing creatively has done so in many years. 

This intro story is found within the film Lady in the Water, i find it to be a strong piece of story telling. For certain the narration and soundtrack which accompany it set a very strong tone for the piece but i also feel the simplistic form of illustrations used reflect the time scale of the story but also make it very iconic. Its minimal form stops any graphically accurate picture forming as to how these creatures look or their scale. It allows the viewer to add his or her own thoughts into the story line which allows a certain amount of imaginative freedom similar to that of a book.

Another prologue story line I remember being particularly strong is that of the introduction to the world of Watership Down. Once again the prologue has had a different style to that of the rest of the story line and in both cases the style is far more abstract than the rest of the story line. This abstract style to me creates a more exadurated feel to the story and to an extent this difference removes itself from the reality it is set in giving a more mythical feel about it.

Once again the backstory is created to be more abstract than the rest of the story resulting in an accurate detail of how events have proceeded but because of the visual differences between the two sets of stories it feels some what removed from the events, as if we are not sure these are true the result is an air of mystery and intrigue.

This image is from National Geographic and is in no way my own work

This image is from National Geographic and is in no way my own work

This is from National Geographic and is in no way my own work

FurnGully

To me furngully was a great story for its portrayal of how the(Under Construction)

This post will focus on reference material which is related to the architectural designs of the island and its civilization.

This is an image from National Geographic and is in no way my own work.

Due to the geological impression of the islands artistically draw map the island is dominated by mountains, valleys and cliff faces. For any civilization to occupy this island at any given time would require them to adapt their style or architecture to fit to their surrounding terrain. This type of terrain also causes some what of an issue in terms of the levels of the design, with limited restrictions with wide open spaces i must adapt the architecture to expand the explorable areas of the island. This image found in the Lost City photographic gallery on the National Geographic website is a perfect example of how both to integrate the architecture through sculpting into the landscape itself, and by creating large adorned entrances we allow the chance to open up the idea of including subterranean areas within this island. This type of architecture could help define what type of people lived on this island, this integration could indicate a more symbiotic relationship with their environment rather than dominating the landscape around them to serve their purposes it is rather manipulated to serve them but to no extent ruin the original beauty of these environments. 

This is from National Geographic and is in no way my own work.

My focus on architectural influences will focus on ruins and lost civilizations, more specifically those found around mountainous surroundings. I will seek to observe how previous civilizations have adapted to such environments and use this as influences over the types of buildings i hope to form.

This is from National Geographic and is in no way my own work

With an intention to have the islands civilization fallen it would be of use to gather images which also focus primarily on ruins.

I wish to establish and air of mystery surrounding this island with no one having explored the island and lived to tell about it only theories can be ascertained.

The question becomes why could this island possible be unexplored? The greatest geological obstacle which obstructs exploration is the ocean surrounding it.

Two possibilities would have to make the water to dangerous to traverse. The first would have to be climate conditions, the sea would have to be susceptible to dangerous conditions such as storms and hurricanes. The second possibility would be that it is not the water which makes traveling across it dangerous but what is in the water which makes it dangerous.

Given that before his exile Abbadon was the patron god of water their is a possibility for a connection, is it possible this creature is a servant of Abbadon, before or during his attack on the other gods. What level of power does he posses in context to the other powerful entities of tyria or in comparison to Abbadon’s army and his allies. Did abbadon create this creature or was is corrupted into service. How can its level of power be justified and why have we not seen this creature or heard of it before? Does the creature keep something on the island or does it keep others away?

If this creature in fact inhabits the water surrounding the island could that explain the lack of settlements and towns around the coasts of the neighboring Tyria, could stories be formed surrounding the disappearance of entire coastal communities due to this monster creating a haunted region? Could this help give a name to the island and or the sea around it?

If these waters are protected by some underwater creature then how would the player be able to access this island? Through the underground asuran network? (An underground network of tunnels and portals? Perhaps to signify its advanced civilized past perhaps an advance form of tunnel is discovered which has fallen into disrepair will the fall of this civilization isolated from this asuran network because it predates it.

The next question becomes exactly where would this portal to the island be located. What would have made it unexplored until now. Given the fall of abbadon in the recent campaign  Guild Wars: Nightfall perhaps his demise could form some sort of trigger, something to set in motion a chain of events which leads to the discovery of this passageway. Our choices given the current magical capabilities as seen within Guild Wars leave us with either teleportation as seen with the asuran gate network and the teleportation conduits seen in the crystal desert or a passage way, perhaps underground. The logical step was to create only one conduit to this island, perhaps to ask more questions and further develop the mystery behind this lost civilization several conduits could exist.

This would seem to suggest to the player that this civilization was well traveled and accessesable to all the races in Tyria. With the idea of multiple conduits in mind appropriate locations would have to be selected in currently explored areas of Tyria. Perhaps these conduits were lost or concealed when this civilization fell, with Abbadon’s defeat triggering the revealing of these places or structures.

If Abbadon’s defeat were tied into the revealing of these conduits the tie should be that of magic, with some sort of magical seal blocking its access or an illusion obscuring it from view.

The teleportation conduits should share strong similarities with those seen in the Crystal Desert an area located to the south east or tyria. This similarity would indicate that a connection between the Forgotten and this civilization adding to its mystery and perhaps establishing a reason for the conduits, to access their allies.

These conduits should appear to be as very small outposts, to create the impression that at one time or another these conduits were gathering points for people to trade and meet, the architecture should reflect that of the islands civilization and should again inspire awe and mystery. Pictograms could be used to visually depict storylines we may or may not be aware of, or give a indication of how the civilization fell from grace. These pictograms should only be partially discernible to once again ask more questions than it answers.

Originally there were 6 old gods. Dwayna goddess of life and healing, Melandru goddess of the earth, Lyssa goddess of energy and chaos, Grenth god of ice and death, Balthazar god of war and fire and Abbadon god of water and secrets. 

During the introduction of magic into the world Abbadon was entrusted with its distribution to the races. When war broke up between the races of Tyria in competition for this new power the leader of the human trides travelled to the city of the gods in order to ask for their help. The gods in response divided the magics and placed them within several stones which were cast into a volcano on the fire islands. Abbadon was found guilty of distributing the magics to freely and was against the other gods. In response the 5 remaining gods locked Abbadon away in a realm which later became known as the realm of torment and all reference of him was erased. 

This is a basic outline of the Exodus of the Gods though the more extensive version is not much more extensive. This plot is not depicted anywhere in great detail and in response I will use this era of Guild Wars to develop my island and its background. 

Possible Unexplored Areas of Storyline To Exploit?

There are other entities within Guild Wars, regarded as gods by other races, these include…

Dhuum – Previous god of death before grenth, he was regarded as a cruel and unjust god as was overthrown by grenth who replaced him, recently it has come to light he has formed an alliance with Menzies and Abbadon.

Menzies – Known as the lord of destruction, he is the half brother of Balthazar. He constantly wages war against Balthazar with his Shadow Army, recently it has come to light he has formed an alliance with Dhuum and Abbadon. 

Alliance – How long has this alliance gone on for? What objectives do these entities share? When Abbadon declared war on the other gods what roles did his allys place if it all? Could the armies of Dhuum and Menzies have been used somehow?

Banishment – Little is known about how or why exactly Abbadon fell, does it have a connection with the war which raged through the distribution of magic? Could a connection be made between Abbadon and the War?

Given how devoted Abbadons worshippers were does this reflect his view on how he saw humanity?

Worshippers – Greatly featured in one of the other campaigns, Nightfall the margonites are shown to be the army of Abbadon once humans corrupted and transformed into what they are today. What action did they take during the fall of abbadon? Were they given magic at the same time as the other races? Did they receive more magic than the othere? Did they know of Abbadons defection and what was their role in Abbadons eyes. 

Fight of the Gods – It is mentioned that Abbadon went head to head with two other gods and defeated them both, but when all remaining five united that he was finally defeated. Which two gods were these? How were they defeated? Where were the other gods at this time? 

Fight in Tyria – It is known that the Margonites took hostage the Temple of the Six Gods, was this their only conquest? What was the greater plan behind this attack.

Threat & Power – If a war between these two factions of gods occured were their other allys to the gods besides the Forgotten and Glint, could they have been perceived as a threat, how would this threat have been dealt with.

This is an image found in Guild Wars and is in no way my own work.

This image is found within Guild Wars and is in no way my own work

This image is found within Guild Wars and is in no way my own work

This image is found within Guild Wars and is in no way my own work

This image is found within Guild Wars and is in no way my own work

This image is found within Guild Wars and is in no way my own work